#―Gallery:「Collection」ー

[impetuousdesigns]

In September 2023, I had my first solo art show. It was titled "Postcards from Japan" and featured hand-drawn and/or painted postcards of places I've been, things I've seen. Many of the postcards were connected to essays I wrote for my Japanese teacher over the preceding 2 1/2 years. Along one wall of the gallery, I displayed several of the essays I'd written. Visitors asked me if I had a collection of the essays available for sale or online somewhere, but I had prepared neither! All I had were prints of a few of the postcards.

I started compiling scans of the postcards and matching them to essays in order to have a book printed, but after nearly a year I'm still not satisfied with any of those ideas. So, I've decided to share them here. I hope you enjoy them.

セミの歌１・Song of the Cicadas 1

The “sound of summer” is the cicada’s song. Not the voices of children or the sound of fireworks exploding. When I hear the cicada’s song, I really feel like summer has begun. 

In the US, it’s a little bit rare to find a cicada shell. When I was a kid, I felt lucky when I found one. In Japan, there are so many cicadas every year, but that’s not the case where I’m from. Every few years, a wave of cicadas will crawl out of the ground. Since I came to Japan, I’ve realized that finding a cicada shell isn’t anything special, but I’ve really come to love the cicada’s song. 

When American news reports, “This year a large number of cicadas will emerge from the ground,” everyone groans, “Oh, no.” I used to think the same, but now I don’t. At the end of May this year, I spotted my first cicada shell of the year. I thought to myself, “Yes! Soon I can hear the cicada’s song! Not long now and summer will be here.” It’s a really happy time of year for me, because I feel like this is truly summer.

「夏の音」はセミの歌。子供の声や花火が爆発している音ではない。セミの歌が聞こえると、「あー夏が始まった」と感じる。

アメリカでは、セミの抜け殻を見つけるのは少し珍しい。子どものごろ、セミの抜け殻を見つけたら、私はとてもラッキーだなと思った。日本では、毎年セミの数が多い。アメリカはちょっと違う。数年ごとにセミの波が土から出てくる。日本に来てから、抜け殻を見つけるのは全然特別なことではないとわかったが、セミの歌を聞くのが好きになってきた。

アメリカのニュースで「今年大勢のセミが出てくるよ」を見ると皆が「いやだ！」と思う。私もそう思ったが、今は違う。今年の5月末に、今年の初セミの抜け殻を見た。「やった！もうすぐセミの歌が聞こえる！もうすぐ夏になるでしょう」と思った。今は7月末。セミは朝から晩まで歌ってくれている。とても嬉しい時期です。「本当に夏だね」と感じている 。

[lifefind-blog]

自己紹介－4

2011 Photo LA, 2011 USA 2010 The Photography Biennale, Skotia Gallery Santa Fe USA 1993 AOI Gallery Santa Fe USA 1993 Kirin contemporary award, Osaka & Yokohama Japan 1990 EXPO'90 Photo museum, Osaka Japan 1985 Taiwan international print biennale, Taipei fine arts museum R.O.C. 1983 Taiwan international print biennale, Taipei fine arts museum R.O.C.

Collections of Kyoto national museum ZEIT-FOTO SALON Polaroid international Polaroid Japan Graduate School of Science, Osaka University Japan Consulate-General, RIGA, Latvia

FUKE’s web page of Wix http://p3ksi4.wix.com/fukep

Art Blog of FUKE http://fuke.tumblr.com/

FUKE interviews

2015 From Taiwan English version https://rinse.io/articles/AU7j0Gg7CoGENWkSiOGi

2014 From France http://quidamlhebdo.fr/galerie-gajac-limpressionisme-japonaise/

2013 From Greece http://www.ltcollector.com/project/fuke-takes-beauty-of-ordinary-every-day-scenes-to-a-new-level-read-the-story-of-this-amazing-artist-from-japan/

2013 From USA http://fineart.about.com/od/Artists/a/Interview-With-Artist-FUKE-On-How-To-Establish-Your-Artist-Career.htm?utm_source=pinterest_ip&utm_medium=sm&utm_campaign=shareurlbuttons

Web pages about FUKE art works

FUKE 経歴 1957 香川県出身 1980 筑波大学芸術専門学群卒業　絵画コース版画専攻 1981 アメリカに旅行　NY、ボストン、LA、SFなどの美術館を巡る 1983 我孫子市でグループ展　スクウォッターズハウスギャラリー 中華民国国���版画ビエンナーレ　中華民国台北市立美術館 1985 中華民国国際版画ビエンナーレ　中華民国台北市立美術館 版画の空間構成を応用したコラージュ的静物写真作品の制作を始める 1987 写真作品を多数制作。平行してオートマチズム的なドローイングを多数制作 1988 東京で初個展「OFFERINGS」　ツァイト・フォト・サロン 大阪で個展　写真展＋インスタレーション　「WEATHERINGS」　フォト・インターフォーム 写真のもとになる素材を画廊内に設置し移動するライティングを覗き箱のように見せる初の試み アサヒカメラ、フォトテクニック、WAVE(フォト新世紀)等の雑誌で作品が取り上げられる 1989 人体を記号化した「POSSESIONS」の巨大な絵画、立体作品、ポラロイド作品を多数制作する 1990 大阪でグループ展　「ポラロイド・スーパーイメージの世界」　花の万博写真美術館　 1991 東京で写真展　「SUNLESS　FLAGS」　ツァイト・フォト・サロン 週刊現代、デジャ・ヴュ、NHKBS東京発エンターテインメントニュースなどで取り上げられる 1992 コンセプチュアルアートに傾倒する。立体作品、プロジェクトを多数案出、数点の作品を制作する 1993 「NICAF」に写真作品を出品（パシフィコ横浜） 「キリン・コンテンポラリーアワード」　奨励賞受賞　キリンプラザ大阪と横浜で展示 サンタフェでグループ展　AOI Gallery 1994 丸亀市で個展「風景化」あーとらんどギャラリー 1994 ニューヨークで作品展示　AOI Gallery 1995 温泉撮影ツアーを開始する。以後10年にわたり継続、1000箇所以上を撮影（未発表） 単独車中泊旅行のノウハウを追及する 2003 デジタル写真に転向、カラー写真の新たな可能性を探求する 2006 東北、北海道に冬季撮影旅行（以後毎年）、雪の写真に自分のカラー写真の新しい方向性を発見する 2008 夕方と夜の水田を多数撮影する 兵庫県生野町で15年ぶりの個展　「水の沈静」　井筒屋 2009 岡山県奈義町で個展　「雪の沈静」　奈義町現代美術館 2010 年末から2011年1月にかけて東欧を旅行し撮影する。 サンタフェでグループ展　「The Photography Biennale」　Skotia Gallery 徳島県阿南市で個展　「雪の沈静」　このぶGallery 2011 ロサンゼルスでグループイベント　Photo LA, USA ローマでグループイベント　Lungotevere Vittorio Gassman Rome　curated by Francesca Pietracci ニューヨークでグループイベント　Water-Aid, Cooper Union The Great Hall New York USA

2012 台北でグループ展　Howard salon Taipei Taiwan ドイツでグループ展　Brisky galerie Stuttagrt Esslingen Germany curated by Mickey McCooper ローマでグループイベント　Rising Love Rome Italy　curated by Francesca Pietracci ローマでグループ展　La Notte 900 lab Rome Italy curated by Viviana Guadagno パリでグループ展　Space Artintheflat Paris curated by Samuel Raharison 神戸市でグループ展　「風景の夢」　Landscape dreams Kobe curated by Hitoshi Yamazaki

2013 ラトビアのリガで個展　Art Gallery MAYDAY 高知市で個展　Graffiti

2014 ラトビア、イマンタ文化センターで個展 南フランスのヴィルヌーヴ・シュル・ロットでカードプロジェクトを含むFUKE世界個展ツアー第一回展

2015 ヴィルヌーヴ・シュル・ロットでFUKE世界個展ツアー第２回展（総展示替えで、第一回と合わせ合計6か月余り開催） 茨城県つくば美術館でグループ展示1000人の顔 2016 さぬき市で個展 SAKKIES トークショー（ゲスト建畠哲氏） さぬき市で個展 NIKE ギャルリーヴィヴァン 寥修平と日本の15人の弟子達展 ツァイト・フォト・サロン 石原悦郎追悼展 “ Le bal ” Part3 - adagio cantabile

2015 ヴィルヌーヴ・シュル・ロットでFUKE世界個展ツアー第２回展（総展示替えで、第一回と合わせ合計6か月余り開催）

茨城県つくば美術館でグループ展示1000人の顔

2016 さぬき市で個展 SAKKIES トークショー（ゲスト建畠哲氏）

さぬき市で個展 NIKE

ギャルリーヴィヴァン 寥修平と日本の15人の弟子達展

ツァイト・フォト・サロン 石原悦郎追悼展 “ Le bal ” Part3 - adagio cantabile

2017 2月23日手を握ったまま母を看取る 医療、教育、食品、安全などに関する情報調査を続行、多数の発見を行う

4月30日自宅の倉庫で再び出産した縞猫の親子全5匹を保護する。4匹の子猫は里子に

2018 FUKE作品を購入したコレクターが作品納入2カ月後に大抜擢され、大きな仕事を任される

北海道での巨大地震に心を痛め、北海道の雪のシリーズを多数仕上げ、北海道の魅力を伝える

地震、気象、健康、医療など多方面の情報収集と独自の調査を継続し、深めていく

2019 花とアート展　西脇市岡之山美術館 ゴーネス・フォトビエンナーレ　ベルギー　Musées Héritage de Goesnes - 5353 Belgique

2020 5月「裸の王様の肖像 Face of a naked king」シリーズを完成させる

2021 「暗闇の中の虹色　Rainbow color in the darkness」シリーズを制作する

2022 2月28日、ロシアの特殊軍事作戦開始の4日後に目の前の事故で愛猫を失う。外猫のキジは腕の中で息を引き取り、キジの意思を尊重して外に出したことを後悔する。自由意思を尊重することと、今の社会の仕組みの中で安全に生きていくことの天秤の扱いを誤ってはいけないと考えるようになる。

10月、カラーホールシリーズを完成させる。人生の中で大きな絶望に見舞われたり、愛する誰かを失ったりしたときに、祈りを捧げたり、心を預けたりする場所が今の社会には無いため、その受け皿になる架空の場所としての作品を作りあげた。

2023 古着をリメイクして、絵画的なデザインの服をたくさん作るようになる。　

作品コレクション

京都国立近代美術館、 ツァイト・フォト ・サロン、 ポラロイドインターナショナル、日本ポラロイド、 大阪大学大学院理学研究科、 ラトビア・日本総領事館

[ichinichi-okure]

2023.9.22fri_tokyo

2023年9月22日金曜日、本日は38歳の誕生日。 35歳を過ぎたあたりからだんだんと歳を気にしなくなり、突然歳を聞かれると今自分が何歳なのか分からず、1,2歳は上下間違えて伝えていることがあったりする今日この頃だけれど、誕生日の当日は改めて自分の歳を確認する日でもある。

昨夜は母親がバーズデーを祝ってくれるというので、行きつけのお店を何軒かはしごした。 母親とは小学校3年生の頃から別々に暮らしていることもあり、たまーに会う友達のような存在。毎年お祝いをしてもらっているが、その都度決まって言われることがある。 「あなたは22日の午前2時10分頃に産まれたのよ。」毎年毎回言ってることを忘れているのか、あえて毎年言うようにしているのかは分からないが、必ず毎年言われる。 「へ〜 そうなんだ。丑三つ時だね。」と毎年必ず同じ返答する。 このやり取りでまた一つ歳をとったんだなと思うと同時に、お互い健康に一つ歳を重ねられたことにありがた味を感じる。 母親はあまりお酒が飲めないが、けっこう頑張って終電まで付き合ってくれた。 今年もありがとうございました。

バースデー当日の9月22日は二日酔い寝不足気味でボーナストラックへ。 9月30日に行われる植物にまつわるマーケット『Plants Collective Vol.12』のMTを鷹取愛ちゃんとミヤジくんと行ったのだが、ミヤジくんが話している時にウトウトしてしまった。 夕方の睡魔に襲われ、唇を噛んだり膝を叩いたりしていたのだが、一向に眠気が引かずミヤジ君が何を話していたのか全く覚えていないが、愛ちゃんがメモを取ってくれていてとても助かった。 どうもありがとう。 皆さん、もしも良ければそんな『Plants Collective Vol.12』に遊びに来てください。

https://note.com/bonustrack_skz/n/nde52c7af119d

夜は子供と映画を観て、LEGOショップへ。 自分の好み��合うLEGOを買い、プレゼントとして子供に組み立てもらうという恒例行事。 一昨年くらいから始めたのだが、何も文句を言わず1人で組み立てくれる。 子供もぼくもLEGOを集めたりハマったりしたことはないが、何となくの流れで３年連続そういう取り組みが始まった。 いつまで続くか分からないけれど、ぼくの大好きなデロリアン(映画『バック・トゥー・ザ・フューチャー』に出てくるタイムマシーンの車)を組み立ててもらえたら嬉しい。 対象年齢が18歳なので、今はまだ難しいけれどそのうち作ってもらいたい。 今から10年後、彼が18歳の時にどんな世界になっているか想像がつかないけれど、父親のバースデーにLEGO作りを楽しめる未来であることを願う。

ちょっとFlyingして1日未来の9月23日のことも書いてみようかな。 バースデーを毎年祝ってくれるキリンちゃん。 キリンちゃんは元職場のAquviiで同僚だった子で、今も公私ともにお世話になっている友達。 もう長い付き合いになるけれど、お互い結婚をした年や子供が産まれた年が同じってこともあり、何事も気軽に話せて相談に乗ってもらえる数少ない親友。 23日のバースデーパーティーは、キリン邸で仲間たちを招き飲み過ぎ食べ過ぎドンチャンしてほとんど記憶がないので特に書くことはないのだけれど、毎年変わらず祝ってるれる友達たちに感謝です。 いつもありがとう。

そんなキリンちゃんと知り合うきっかけをくれた”Aquvii”というお店がある。 元々、ぼくらが働いていた頃は代官山を拠点にしていたが、2年ほど前に移転をし、学芸大学の駅から走って30秒くらいの場所に秘密基地Aquviiとしてお店をかまえている。 ここのお店のオーナーであるキョーゾーさんに色んな人を紹介してもらい、キリンちゃんを含め働いている時に繋がった方々のお陰で今の自分があるのだと思っている。 Aquviiの皆さん、キョーゾーさんいつもありがとうございます。 住所非公開にしているお店だけれど、下記が住所なので皆さんタイミングが合えば遊びに行ってみてください。 ”東京都目黒区鷹番3丁目3-13” https://aquvii.com

で、Aquviiはこの夏から同じビル内に”FLYNG GALLERY”というギャラリーをオープンさせました！ このギャラリーディレクターとして親友のキリンちゃんが携わっているので、お時間あればAquviiのついでにFLYNG GALLERYも遊びに行ってみてください。 展示や販売もできるので、ご興味あればぜひ！ https://aquvii.com/collections/flying-gallery

他にもVCMのイベントの振り返りや、VCM監修のヴィンテージ書籍発売やらなんやら書こうかなと思っていましたが、既に締切を過ぎてしまっているのでその��とはまた次回の日記に！

9月は誕生月ということもあり、個人的にはすごく好きな月。 歳を重ねることの有り難さや、改めて周りの人たちに感謝をしたくなる月。 涼しくなってきて過ごしやすい季節の変わり目。 好きな季節を好きな人たちと過ごせることを大切にしたいと思います。

-プロフィール- 丸山 貴弘 38歳 東京都渋谷区 m a h o u / BONUS TRACK / VCM Instagram https://www.instagram.com/mahou_label/ https://www.instagram.com/bonustrack_skz/ https://www.instagram.com/vcm_vintagecollectionmall/

[elclaree]

ras elclare’s art concept

[kascl]

Dark Lord Kasel and Fallen Frey

[eisa-core]

INSIDE DAISY'S PHONE ･˳ . ⋆ .˳⁺⁎˚ ⋆

PHONE ー☆ ͏

She owns an Iphone 13 pro - Grafite

She doesn't change phones so often, the previous one she had was Iphone 11

WALLPAPERS ー☆ ͏

Daisy is addicted on having an aesthetic homescreen, lockscreen and so on

She goes on Pinterest and search for new ideas

She could spend hours making her phone homescreen on point, like,,, HOURS

These are some of her recents lockscreens

Unfortunately she can't put a boyfriend material pic of Minghao as her lockscreen, it happened once and at that time Pledis' didn't accept it

PHONE CASES ー☆ ͏

Daisies daisies daisies

She's not one of those people who changes often phone cases, and the most simple reason for that is she just forgot. And don't mind it either

But when times comes, she has a variety of phone cases with daisies drawings, it's like something that identifies her.

Sometimes she matches with Jun using cats phone's cases that he gifted her

OTHERS ー☆ ͏

As some carats should've already know, Daisy not only collects Seventeen's photocards for fun, but she has also lots of Seventeen's photos on her gallery

She's a carat indeed

She has folders for each member

Most of the photos are memes, or photos that they BEG her to take 'cause she's just know what is the best angle for a boyfriend material pic

She publishes them whenever it's their birthday

One of her most used apps, is Kakaotalk or iMessage and screenshots everything that may seem embarrassing or funny, so that she can tell the staff on using them for some Caratland's skits or some similiar stuffs

-

taglist: @cinnamon-falls ; @allthings-fandoms ; @taestrwbrry

-> masterlist.

[dialovers-translations]

Diabolik Lovers LUNATIC PARADE ;; Carla Route ー Sub Scenario w/Laito

–> In between the main route chapters, the player is taken to the area map of the Parade where you can freely roam around. There are four different places to visit, each with different mini games and sub scenarios to enjoy.

AREA: SAINT NORE PARK

CHARACTER: LAITO

ー The scene starts in the arcade

Carla: Hm? This is...

Yui: This game center has a shooting gallery. 

Carla: Aah. I suppose it is supposed to mimic a shooting range?

Yui: No, it’s not actually that realistic. I’s really just meant to be a game...

Laito: Heeh...You have less world knowledge I thought, Carla.

Carla: ...What is your problem? 

Yui: L-Laito-kun...! You’re going too far.

Laito: I’m not wrong though, am I? I mean, you have to pretty out of it to mistake a shooting gallery for an actual shooting range, right? Nfu~

Carla: ...

Laito: In that case, since you don’t know about the game, I’ll be so kind to each you the ins ・ and ・ outs.

...At a shooting gallery, all you have to do is drop the prices lined up on that shelf over there. 

Then you get to take everything you dropped home with you. 

Carla: ...Hooh, everything, you say?

Laito: Well, it’s not as easy as it sounds. Although that’s one of the things which makes the game fun. 

Carla: ...No, I can end this game with one hit.

Laito: Fufu, someone sounds awfully motivated~ Let’s get straight to it theーー

*WOOSH*

Yui: Kyahーー!!

*Thud thud thud*

Yui: ( Wow...He used his magic to drop all of the prices!? )

Laito: ...

Carla: I cannot believe it truly only took one hit...

Hah. Piece of cake.

ー Carla begins to pick everything up

Carla: ...If anything, it requires more effort to pick everything up from the floor than it did to drop them off the shelf. 

I suppose it cannot be helped...

Laito: Wait! Uwah!!

*Woosh*

Yui: ( He summoned a gust of wind to collect the goods...!? )

Carla: ...Heh. I guess this is the last one. 

I shall have my Familiars carry everything to the hotel. ...Yui, follow me. 

ー He walks away

Yui: Ah, Carla-san...!

I-I’m sorry, Laito-kun! I’ll get going now!

Laito: Don’t worry about it. Hang in there, Bitch-chan~!

Yui: T-Thanks...!

ー She runs off too

Laito: Hmー ...I can’t believe he’d try to settle everything with his magic. 

Either he just has a really non-orthodox way of dealing with things or when you really think about it, maybe he’s just a simple fool...

ーー THE END ーー 

[systematicallycapricious]

Capri’s Guide to Sho Minazuki Content — P4U2/P4AU Art Book

[Link to the masterpost coming eventually!]

Also known as the “P4U2 (Persona 4 The Ultimax Ultra Suplex Hold) Official Design Works”!

Unlike the P4A/P4U solo art book that came before it, this art book does not have an official English translation, any creator interviews, or any sprite animation frames contained within it, so if you’re looking for any thoughts on the creative process behind Sho, the most you might find is in the ‘story movie’ storyboards section or Tsukiyomi’s prototype concept art. That said! I will break down what Sho-related content is actually included in this book.

Official Illustration

[The background art on the official website] by ドメリカ (maybe “domerica” the company? They appear to at least have worked on this game)

[The normal box art (sans logo)] by アトラス デ ザイン チ ー ム (Atlus Design Team)

[The Shadow version of the box art] by アトラス デ ザイン チ ー ム

[This Sho and Yu] piece by ドメリカ

The cover art piece, albeit in uncropped and textless form, by 副島 成記  (Soejima Shigenori)

[This fighting ring illustration] by アトラス デ ザイン チ ー ム

And the above image by 副島 成記

A thing to note! If the official illustrations are your top priority here, out of the Arena series art books, the cover image art (by Soejima) is only published in this book! It is NOT reprinted in the P4U x P4U2 Super Official Design Works. However, it was also collected in the more recent “Shigenori Soejima & P-Studio Art Unit: Art Works 2″ book alongside a lot of other Arena series illustrations at the very least (if there’s more places, I personally don’t know about them as I’m just a casual working with what I’ve got, not a collector xP). In addition, some of the illustrations here are reprinted in different formatting in the combined art book:

Is printed a little larger in the P4U2 art book than the P4U x P4U2 combined book, though that’s at the expense of the outer edges being somewhat cut-off for the former.

Is printed a little larger in the P4U2 art book than the P4U x P4U2 combined book. In the former, the outer-edges are a bit cut-off, while in the latter, the top and bottom are a bit cut-off instead.

Is printed a little larger in the P4U2 art book than the P4U x P4U2 combined book. In the former, the outer-edges are a bit cut-off, while in the latter, the top and bottom are a bit cut-off instead.

Is printed in a nearly full-page format in the P4U2 book (at the cost of a slight cut-off to the outer edges) versus the 3/4′s page in the combined art book.

Comparing this to the “Shigenori Soejima & P-Studio Art Unit: Art Works 2″ book instead of the P4U x P4U2 one; in this book, it was printed full-page on a single page, oriented landscape-wise instead of portrait-wise. In the Soejima & P-SAU one, it appears to be a two-page print, oriented portrait-style and printed somewhat larger (though the page divide cuts through the illustration as a result). (If you would like to see how it looks in the Soejima & P-SAU book, you can see it showcased a bit in this video here. If the timestamp link fails, it’s at around 3:30 in the video.)

Is printed a little larger in the this book than the combined one, but at the cost of a slight cut-off at the outer edges in the former. The colors are also printed a bit differently, and it has a white border in this book, while it has a black border in the combined art book.

Is printed in a full-page format with a white border in this book and a half-page format with a black border in the combined art book. There is no cut-off in the former.

Character Illustration

In the Character Illustration section, you will find pretty much any character art you can find in the game itself. This includes:

The arcade art, viewable from Gallery Mode in the game, for both Sho and Minazuki (as seen above on the left)

The “glasses/megane” variant of the arcade artwork in a smaller headshot format for both Sho and Minazuki

The official art for Tsukiyomi

The fighter profile/versus art for both Sho and Minazuki

The pre-combat (when you start an arcade run or something and see a character’s fighter tagline) graphics for both Sho and Minazuki (which you can also see a scan from this book of [here] if you’re curious how it looks!)

The Story Mode portraits for both Sho and Minazuki, as well as 6 expressions for each of them in a headshot format. Two of them are duplicated between Sho and Minazuki, and not all of their possible expressions are collected here (for example, Sho’s deliriously angry expression is missing from his set).

A shared ‘profile’ card for them both. It’s basically like the fighter info that shows up beneath a character on the Versus screen (so yes, it’s all “???”s like it is there), but with the addition of a “Weapon” and “Type”(for the weapon) category that does have a bit of non-”???” text. It basically just says that Sho and Minazuki use two katanas, and that I think Sho’s “type” is “body attack”, while Minazuki’s is “standard”, referring to Sho’s lack of Persona (thus using just his ‘body’ to attack) and Minazuki having a Persona like a “standard” fighter in the game?

Minazuki’s Insta-Kill cut-in

And Sho and Minazuki’s shared Awakening cut-in, as well as the glasses/megane version of it (which you can also see a scan from this book of [here] if you’re curious how it looks!)

Everything in this section is reprinted in the combined art book, albeit in different formatting:

The arcade art is actually printed a bit larger in the combined book than the solo one, but only Sho’s is printed in it. Minazuki’s gets relegated to a headshot alongside the glasses renditions of the art, which is zoomed in a bit more and framed by a circle instead of a square.

Is covered above

Tsukiyomi’s art is printed a little smaller in the combined book than the solo one, going from about a half-page to a third-page or a quarter-page

The versus portraits are actually only a smidge smaller in the combined art book than the solo one, and Minazuki’s arm doesn’t get cut off. The torsos for both Sho and Minazuki’s are a bit vertically cropped in the combined artbook however.

The pre-combat graphics are printed significantly smaller in the combined art book than the solo one, going from a 3/4ths page for Sho and a partially-obscured half-page for Minazuki to an equal quarter page for both, albeit Minazuki’s is no longer obscured as a result.

The story portraits go from about a quarter page in the solo book to a eighth-page or so for Sho (and a little smaller for Minazuki) in the combined book. There’s also a third portrait at the same size as Minazuki’s in the combined book showcasing their red-eyes default expression, which is only a headshot in the solo book. Aside from that, they share a pool of 10 total expression headshots in the combined book, some being labeled as exclusive Sho’s, some exclusively Minazuki’s, and some “common” which assumedly are shared by them both. They’re printed slightly bigger than the solo book’s and zoomed in a bit more, and include some of the expressions missing in the solo book (such as Sho’s wilder expressions). It’s still not a complete collection of every possible expression the two could make though; for example, Minazuki’s common ‘forlorn with closed eyes’(or however you’d describe that) isn’t included in the combined book, while it is in the solo book. Neither of them possess the version where Sho’s scar and eyes glow blue in the true ending though.

The “Profile” card is instead a “Personal Data” section in the combined art book, now with added “Star Sign”, “Blood Type”, and “Persona” categories, and also with English category names instead of Japanese (the actual answer text for each category is still in Japanese though). The only one that isn’t just “???”s out of those three is Persona, being answered with “Tsukiyomi (Minazuki)”.

The Insta-Kill cut-in is about the same size in both, although it’s filed under Sho and Minazuki’s section in the combined book instead of the general gallery for Insta-Kills in the solo book. It’s also slightly cropped in the solo book, whereas in the combined book it is not.

The Awakening cut-ins in the combined book are printed a little larger than in the solo one, but they’re also cropped narrower vertically than the solo one’s.

You can find pretty much all of the art in this section on the internet via a simple “Sho Minazuki” search as far as I’m aware, even the full range of Story Mode portrait expressions [here] (albeit you’ll have to do a bit of photo-editing to combine them into whole portraits). So if you just want to see that art outside of the game in general and not possess it specifically in art book form, then that’s very possible for you to do!

Art Works

Hanging out in the Art Works section is basically a bunch of concept and technical art! For Sho in this section we’ve got:

Sho’s prototype designs, or as the book calls them, “rough sketch”es. (This also is the source of the camo coat that Sho is illustrated with in the Ultimax manga adaptation, I would guess.) (They’re pictured above, but if you’d like to see them in a clearer digital form, you can see them [here] and [here]!)

Tsukiyomi’s prototype designs (Also as pictured above.)

That’s pretty much it for Sho’s stuff in this section; a final total of 4 pages of content. A big thing to note though! Tsukiyomi’s prototype designs are NOT reprinted in the combined art book. Out of the 3 Arena-series artbooks, this is the only one it’s printed in. (I know, it’s kinda sad that you can’t just get all of Sho’s related concept art in one nice neat place. T-T So... I’m tentatively posting both of Tsuki’s pages here so other people might not have to deal with that issue.)

For the differences in printing for the Sho prototype designs though... The uncolored one with the little blobby dude is printed severely smaller in the combined book, being rendered as about an eighth-page or so as opposed to its full-page rendition in the solo book. The camo coat concept art is printed at about a third of the page in the combined book versus the half-page of the solo book, and the drawing with the two handed sword is roughly a quarter-page in the combined book versus the half page of the solo book.

Story Mode Illustration

Lastly, we’ve got the section that collects some other pieces of art from the game, such as Story Mode illustrations, Story Mode background art, and then the storyboards for the various animated cutscenes that appear in the game as well. For the last one, it doesn’t really collect many frames from the finished animations in the book (to be precise, it has exactly 3 from each featured storyboard for some comparison between what that specific board covers and the corresponding final product, just not really any printed much bigger than a thumbnail’s size), just the animations’ collections of storyboards.

(Also note: I’m including the background art in this guide due to the fact some of it may hold a strong association with Sho and/or Minazuki for some people, and thus may potentially useful if people are looking for references or collections of them for Sho-related purposes.)

Story Mode Illustration:

(Note: Going by the numbers listed in the book, which should match up with the names they’re given in Gallery Mode in the game, as well as listing their channel numbers from Gallery Mode for reference.)

Story Illustration #7 (Channel 43; Minazuki sneak-attacking Naoto)

Story Illustration #10 (Channel 46; Yu, Chie, and Yosuke meet Minazuki... and Tsukiyomi)

Story Illustration #28 (Channel 64; Mitsuru gets a bleary look at Tsukiyomi)

Story Illustration #37 (Channel 73; Labrys, Yukari, Ken, and Junpei are about to battle Minazuki on the Moon Viewing Platform)

Story Illustrations #38 (Channel 74), #39 (Channel 75), #50 (Ep.Adachi DLC), #52 (Ep.Adachi DLC), and #53 (Ep.Adachi DLC) (or to specify them by details: the picture of General Teddie and Sho/Minazuki at the tower top, Sho facing away from Labrys in the TV Studio, Minazuki/Sho and Adachi on the Moon Viewing Platform just after the fog was summoned, Adachi and Sho facing each other down at the tower top, and Sho pummeling Adachi, respectively) are not included in this book. On top of that, the cut-in image of Minazuki’s sadistic grin on Illustration #37 is also wholly omitted from the book, for whatever reason.

For comparisons in formatting between this book and the P4U x P4U2 one:

#7 is printed at about a third-page size in this book and a large thumbnail size in the combined book, albeit laterally and vertically cropped in this book.

#10 is printed at about a third-page size in this book and.. I honestly don’t know the fraction on this one, but somewhat smaller in the combined book, and is very laterally and vertically cropped in this book.

#28 is printed at about a third-page size in this book and a large thumbnail size in the combined book. ...I can’t really tell if it’s cropped differently between the two due to the overall bleary and dark nature of the image. ^^;

#37 is printed at about a third-page size in this book and a large thumbnail size in the combined book, with Yukari’s arm (specifically) getting cut-off in the combined book but not this one. Beyond that, the Minazuki cut-in portion actually is technically printed in the combined book, but only as a small fractal piece of the background on the Sho and Minazuki profile page (which will be pictured in my P4U x P4U2 artbook post).

#38 is actually printed in the combined art book at least, at about a third-page size.

#39, #50, #52, and #53 are not printed in the combined book either. It is a very sad day that I’ve come to realize this. T^T

So the final verdict is that if you’re looking for Story Mode illustrations of Sho Minazuki, this art book only has less than half of the total ones he’s depicted in from the game.

Movie Story Board:

Opening Movie (Channel 90; the one that plays before you get to the title screen/the one the short version of “Break Out Of...” plays for): all boards (01-29), with boards 04, 05, 08, 11, 14, 18, 20, 24, 26, and 27 being featured. Out of those, Sho appears in boards 04, 23, 24, and 25.

Story Movie #1 (Channel 91; Yu watches the red fog hit Inaba at the start of EpP4): all boards (01-32), though the only one that matters here is board 26, as Sho is set to briefly appear on the TV during the countdown. It is not a featured board.

Story Movie #5 (Channel 95; Sho’s introduction to Yu, Yosuke, and Chie in EpP4): all boards (01-03), with board 02 being featured. Sho appears on all three boards.

Story Movie #7 (Channel 97; the giant backflip.. tower version, not the town version found in some Arcade Mode runs, though only the background really changes if memory serves): all boards (01-07) with boards 04 and 06 being featured. Board 01 is just debris falling, so Sho appears in 02-07.

Story Movie #8 (Channel 98; Minazuki activates the Shadow clones): all boards (01-02), with board 01 being featured. Minazuki only appears in 01, as 02 is a just a shot of the clones ‘coming alive’.

Story Movie #9 (Channel 99; the limo goes off the road): all boards (01-14), with boards 02, 05, 10, and 12 being featured. Sho appears only in board 12.

There appears to be no boards for Story Movies #12 (Channel 104; Kagu-possessed Sho is devoured by Kagu’s new body) or #14 (Channel 106; Sho in the ‘true’ ending when the tower top is all blue) in this book, but they are somewhat collected in the combined artbook! As for the differences, the combined artbook only collects some of the boards at kind of random, but prints them at sizes somewhere between the featured boards and the tinier side-page boards. Alongside that, there’s little captions for each Movie, with two specifically for the Opening Movie, while all of the rest only get one each. The boards it collects for each Movie are:

Opening Movie: 02, 03, 04, 05, 06, 08, 09; 23, 24, 25, 26, and 27

Story Movie #1: board 26 is included

Story Movie #5: 02 & 03

Story Movie #7: 05 & 06

Story Movie #8: 01 & 02

Story Movie #9: board 12 is not included

Story Movie #12: 06 & 07 (06 showcases Sho.. he’s kinda nommed by 07)

Story Movie #14: 02 & 05 (neither of them showcase Sho)

So overall, depending on what you’re looking for out of the animation storyboards, one book might be better over the other, given they both possess some things that the other does not.

Background Illustration:

Pretty much any background art you see in the game is collected here, I believe, though I haven’t comprehensively combed through both the book and the game in their entirety to check the utmost-thoroughly. I have my limits of tedium I’m willing to go to for this stuff, so I apologize. xP

All of the backgrounds art in this book are either formatted as half-page or eighth-page size, with there being one half-page and 4 eighth-pages per full page. ...I’m not going to go through and transcribe-to-translate 65 different Japanese titles for the 65 different backgrounds included in this book so I can properly list the ones likely to be most relevant to Sho, but at least I can verify that I see art from both main routes, their epilogues, the ‘true’ ending of EpP4, and a couple specifically from EpAdachi.

As for the formatting in the combined artbook, the art is significantly smaller, with the biggest being sized around an eighth-page, the middle-size being like an elongated medium-sized thumbnail, and the smallest being like an actual medium-sized thumbnail, scattered around the page much more haphazardly. (The difference will probably be visible when I post the combined art book’s guide. ^^;)

Again, I’m not going as specifically through this part due to lack of concrete names to use, so there may be variances in which version of the background is collected, or some being omitted or gained potentially?

I haven’t ever tried looking up the Story Mode backgrounds on the internet before, so I’m afraid I can’t say how much luck you might be able to have looking for them on the internet versus the books. ^^;

Concluding Notes:

And that’s everything in this book! More or less it’s kind of got the feel of an art gallery in book form to it (which the super-vivid printing of the colors really helps-- it looks really pretty in-person, which the camera kind of picked up), I think, which the combined art book doesn’t quite match, but also lacks a lot of the concept and technical art for Sho that the combined artbook does have.

If you’re looking to get a copy of your own, I recommend checking Mercari or Ebay! I’m not sure if there’s other sites out there that have it or not, since I found my own copies on those, but you can try looking under both the Japanese version of the title (both in Japanese characters and in Latin characters) and the English one in general search engines or various other sites if you wish, or else perhaps sites like Amazon Japan or Rakuten (Japan?) if you’re trying to find a digital copy?

The guide for the P4U x P4U2 Super Official Design Works will come eventually! In the meantime, if you want to get an idea of some of what it possesses in terms of Sho content, I have a post [here] with a few pictures.

Also, if anyone knows something more than I do about anything I wrote here, please feel free to correct me! Nicely, of course, and preferably with an accurate source to cite, but despite being a casual I’d much prefer to have accurate info in these whenever possible.

[puyopreservation]

COMPILE GALLERY 123 〜ぷよぷよーそして魔導物語へ〜

I (Mod Mamono) couldn’t sleep and I’m not in the mood to calculate something like the GoFundMe amount. So here a taste of something I’ll add soon-ish to the archive:

This CD is a treasure. I am glad I snatched it.

Compile Gallery 123 〜ぷよぷよーそして魔導物語へ〜  is a CD that includes artwork from Puyo Puyo, Madou Monogatari, and something called Compile Club. The latter of which holds artwork you’re likely not familiar with. Likely used in the Disc Station Magazines.

It also includes clean versions of the box and manual art.

This isn’t even 10% of it.

They’re low rez, but this is likely the highest quality non-scan versions us fans are gonna get. I’m personally proud to have this physically for one thing, and I’ll be happy to share all of this with you in the future.

Though don’t think what I have is a complete collection. I might go into that at a later date why I think that’s the case, or you can figure that out yourself in the future when I’ve added it.

Here’s the program running and a preview of what on here:

And in accessible from this program (as far as I know, I can’t read Japanese or Gibberish,) are a Puyo Puyo based clock, seemingly called Puyo Station:

And here’s a list of the Sound Effects and Voice clips to give you an idea of what to expect from this:

So there.

And that isn’t even all of this disc has to offer. There’s a calendar with an animated Arle. (I forgot to take snapshots.)

Also on the disc are a few videos. Amoungst them the notable ones are: Madou Monogatari: Final Exam’s “anime-op”, A promo video of Madou Monogatari on Saturn and 3 random matches against Suketoudara, Kikimora & Witch in Puyo Puyo SUN.

Also included are what seems to be data to an Compile game completely unrelated to Puyo Puyo. I can’t make out the name, but the folder it’s in is called: Adf_T.

And that’s all I wanted to share about  Compile Gallery 123 〜ぷよぷよーそして魔導物語へ〜. There are somethings I wanna do first before I’ll make it available to you guys. But I will get to it.

[xiaomoxu]

Xu Mo - Painting Gallery Date (Translation) Part 1 and 2

SPOILER ALERT!!

This date from CN server which hasn't been released on EN server yet. Might contains some spoiler.

Brace yourself for angst moment from Lucien (as usual)☹

I'm doing this translation for personal reason, so I'm sorry if there's some mistranslation. Kindly tell me if you found some :) feel free to read it~ ^^

I used Lucien CN name on it, Xu Mo.

Read prologue part here

PART 1

I looked at the sketchbook on the door that I hung up by myself.

The paper stays on the page where I lost the puzzle, the missing part is just like my current mood, empty

Several days have passed, Xu Mo still did not reply.

MC: Is he still busy

Just when I was about to enter the house, my cell phone rang suddenly.

Seeing the name on the screen, after two seconds of shock, I quickly answered the phone.

MC: Xu Mo!

Xu Mo: Yes, It's me.

Different from this tone before, this time his voice has a familiar temperature.

Xu Mo: MC, how are you recently?

MC: I....

"Very good" That two words choked in my throats, unable to tell.

There was an inaudible sigh on the other end of the phone.

Xu Mo: It seems that we are the same now.

Xu Mo: Sorry, my research has entered a new stage recently. I spend most of the time in the laboratory and don't look at my mobile phone often, so I can't reply to your message in time.

Xu Mo: The results of this research, is related to the fate of many people.

Xu Mo: Therefore, even if there are many difficulties, I will still finish it.

He paused, then said as if talking to himself

Xu Mo: Moreover, I also want to give myself a chance.

His voice is very soft, but it makes me feel a little uneasy

After a short silence, Xu Mo returned to his usual tone

Xu Mo: Have you found those pieces of puzzles?

Hearing what he said, I was a little surprised.

MC: So you saw it.

Xu Mo: I will not miss everything you recorded, but I haven't had time to reply.

Xu Mo: Sure enough, as I expected, some anxious little fool began to think again.

I was busted and my face turned red involuntarily

MC: Xu Mo, do you have time on the weekend

Xu Mo: Yes?

MC: The puzzle is still not found. I think if you are free, can you accompany me to buy a new one? It's not very far from here,

I know that my excuses are very bad, but I only have one thought at the moment... I want to see him.

There is a sound of even breathing. He seems to be hesitating

Not wanting to burdened him, I quickly tried to change the subject.

MC: What are you doing?

As soon as the voice fell, a chuckle came from over there.

Xu Mo: I'm nodding (?) Dozing off. 我在點頭.*

(* I'm not pretty sure with the translation so I put the original text)

PART 2

On Saturday afternoon, I came to the agreed place early

The weather today is surprisingly good. The sun is transparent and bright, and the air is full of colors, which warms the heart.

It was obviously not the first time I met Xu Mo in private, but I still felt a sense of tension.

MC: So many people...

Looking at the pedestrians coming and going, I couldn't help but feel a little worried in my heart. Should I call to confirm my location, in case he can't find me.

Xu Mo: Don't worry.

Xu Mo: Even in the crowd, I can see you at a glance.

I turned back subconsciously.

The breeze blew, and the leaves trembled in the wind. Golden light Use gentle brushstrokes to outline the slender and tall outline like a sketch.

As if he had a mind reading technique, he pointed out my worries as soon as he spoke.

Xu Mo: Sorry, I am late. Have you waited a long time?

His brows are slightly furrowed, his face is full of guilt.

MC: No, I just arrived.

I smiled at him and said with some guilty conscience. In fact, I

have been waiting for about half an hour.

I looked at Xu Mo quietly from the corner of the light, raising my hand to sort out his hair unnaturally.

He was wearing a white shirt, a dark gray tie around his neck, and a document bag in his hand. He had apparently just pulled out of work.

The thought that he hurried over before he had time to rest, I couldn't help but blame myself.

There was a heavy sigh from above.

Xu Mo: It seems that you are still mad at me.

MC: What?

I raised my head and looked at him for unknown reasons.

Xu Mo: Since when did you start hiding things from me?*

(*this is the edited translation)

The leaves trembled in the breeze. I looked at his Xu Mo eyes, which were full of emotions that I could not understand.

I faintly feel that Xu Mo today is unfavorable in peace.

Xu Mo: Don’t you want to buy puzzles? Let’s go.

The familiar smile returned to his face, as if it was just my illusion

MC: I don’t want to buy it anymore.. It’s just a few puzzle pieces, so I don’t need to buy another one.

MC: It's rare that we are all free. Compared with this, I want to do other things with you.

Xu Mo's eyes narrowed slightly as he watched me, and my heartbeat, which was so easy to calm down, became chaotic again.

After thinking for a moment, he asked softly.

Xu Mo: Would you like to go to a place with me?

Without thinking too much, I nodded and agreed.

MC: Okay.

A smile appeared at the corner of Xu Mo's eyes.

Xu Mo: There are so many people here, be careful not to get lost.

He got closer, trying to hold me.

I couldn't help but step back, avoiding the hand he extended to me.

A hint of surprise flashed across his face. After reacting, I also felt a little flustered at my actions.

MC: I didn't mean to avoid it, I just....

It's just that the palm of my hand is sweating a little, so I don't want you to notice it.

A simple sentence, but I can't say it, like a fishbone stuck in my throat, a dilemma.

Xu Mo: Okay, I know.

Xu Mo slowly lowered his stiff hand in the air, and he nodded slightly, with a clear look.

Xu Mo: It's getting late, let's go quickly.

After speaking, he turned around without looking at me again.

The wind rustled the leaves, and it was clear that winter was over, but I felt a little bit of chill.

Seeing Xu Mo's back getting further and further away, I had to hurry up to keep up.

I keep blaming myself in my heart, and I have accumulated a lot of words when I realized it, but I don't know where to start.

For some reason, a bunch of withered platycodons suddenly appeared before my eyes.

The flowers are in season and will wither afterwards.

Will people's feelings become indifferent because of long-term absence?

Just when I lowered my head and thought, my left shoulder was suddenly hit hard.

I raised my head and realized that the familiar figure had disappeared from my vision.

MC: Xu Mo...

The faint sound was like a pebble in the noisy street and fell into the vast sea without a single echo.

MC: Xu Moー

I clenched my fists and shouted loudly.

The passers-by slowed down and looked at me curiously, but quickly resumed their pace.

I stood before the crossroad and stopped.

The sound of whistle, footsteps, and noise gradually disappeared. All the passing scenery and crowds were blurred in outline, and only the sound of my own heartbeat was infinitely amplified.

For some reason, a vague picture flashed in my mind. It was a little girl sitting under the camphor tree. The voice soft said to me...

Little girl: I also know that this elder brother will not come back after he leaves.

Suddenly, I felt flustered for no apparent reason, and subconsciously looked for him everywhere.

Xu Mo: MC.

I looked for the voice and turned back-

Xu Mo: I am here. (CG Karma included here)

The noisy city streets, like a weaving crowd, bustling, I can only hear my heartbeat like thunder.

Through the haze, through the sea of ​​people, my eyes meet that pair of eyes that have been searching for a long time.

Without the slightest hesitation, Xu Mo locked his eyes firmly on me.

Maybe it's like what he said, even if there are crowds, he can find me at a glance.

Everything around us suddenly slowed down, just like a framed lens in a movie. In our eyes, we only have each other.

MC: ...

No matter how flustered, restless, anxious, or even fearful before.

As long as you meet the eyes of the person in front of you, the heart that is wandering in the air and helpless can instantly settle down.

The spring sun shines softly through the gaps of the leaves, layer by layer, passing through hesitation and depression, and blooming freely beside those who are struggling to pursue it.

The sadness and sorrow that I have experienced have become worthwhile, and the thoughts that have been carefully hidden are finally conveyed.

The longing that I have always had but cannot express is pouring out at this moment, and it has become the most transparent thought and the most meaningful collection.

Everything is wonderful and incredible.

>> Proceed to next part

[voidplus-jp]

村田峰紀+盛圭太「庭へ」 2021.8.14 (sat) ー9.11 (sat)

void+では村田峰紀と盛圭太の二人展、「庭へ」を8月14日より開催いたします。

本展では二人が現在の活動の起点となる多摩美術大学在学中のゼミの展覧会を振り返り、共同作業を通じて当時の企画展を再考した新たな表現により構成する展覧会となります。 また本展ではそのゼミの指導教授だった建畠哲氏をお迎えし、オンライントークを8月24日（火）に開催する予定です。詳細は追ってHPにてお知らせ致します。

＜ステートメント＞

庭は場所としていつまでもおぼつかない場だ、庭というトポスはやはり詩にある。⼿の授かりが⽌んだ庭は、不意に⾮-場所へと変わる。しかしその放逐された場は、転じて庭になる可能性を宿す。この安定した連続変形性は『庭』を規定する。盛と村⽥にとって、2003年、多摩美術⼤学 芸術学科と彫刻学科：⽯井 建畠共同ゼミで企画された『Gardens』への参加は、現在の活動の起点となるパフォーマンス、ドローイングというそれぞれの表現領域を⾒出すきっかけとなった展覧会となった。 本展覧会では、⼆⼈の作家が『Gardens』を再考し、本展覧会と同タイトルとなる『庭へ』と題された共作が発表される。

村田峰紀、盛圭太

-------------------------------------------------------------------------------------------

＜展覧会概要＞

■タイトル：「庭へ」 ■会期：2021年8月14日（土）ー9月11日（土）12:00-18:00 ■オンライントーク： 2021年8月24日（火）19:00~ 建畠 晢、盛圭太、村田峰紀　＊詳細は後日void+のHPにてお知らせ致します。 ■会場：void+ 東京都港区南青山3-16-14, 1F ■定休日：日、月、祝日 ■お問合せ：info@voidplus.jp   ［協力］rin art association ［広報協力］YN Associates

*画像クレジット　©︎Keita Mori, Mineki Murata  Courtesy of rin art association  Photo by Shinya Kigure

-------------------------------------------------------------------------------------------

＜アーティスト・プロフィール＞

村田峰紀｜Mineki Murata

1979 年群馬県生まれ前橋市在住。2005年多摩美術大学美術学部彫刻学科卒業。原初的な行為で”かく” ことの語源にある4つの要素を 意識=書く、結果=描く、行為=掻く、潜在=欠く、と捉えてドローイング制作やパフォーマンスをおこなっている。Ongoing Collective、身体の人たちに在籍し活動。

＜主な個展＞

　

2021「effect」rin art association（群馬） 2019「borderman」Art Center Ongoing（東京） 2018「vision inside」rin art association （群馬） 2016「+」GALLERY HASHIMOTO（東京） 2015「MINEKI MURATA」THE WINDOW（パリ、フランス） 2014「ネックライブ」Art Center Ongoing（東京） 2013「パフォーマンス彫刻」GALLERY HASHIMOTO（東京） 2012「flash/back」ya-gins（群馬） 2010「drawings」GALLERY HASHIMOTO（東京） 2008「BankART Bank under 35 村田峰紀展」BankART Mini Gallery（神奈川）2007「ミシンドローイング」前橋文化研究所（群馬） 2003「私は多くの「ノーコメント」を語る」ART LABOLATORY R3（群馬）

＜主なグループ展＞

2019「雨ニモマケズ」BankART Station（神奈川） 2017「アブラカタブラ絵画展」市��湖畔美術館（千葉） 2016「Think Tank Lab Triennale, TWO STICKS」ヴロツワフ建築美術館（ヴロツワフ、ポーランド） 2015「VOCA展2015」上野の森美術館（東京） 2013「Perfectly Situated」New City Space（グラスゴー、UK） 2011「横浜トリエンナーレ特別連携プログラム 新・港村」新港ピア（神奈川） 2010「あいちトリエンナーレ2010」長者町会場（愛知） 2008「WOHER WIR KOMMEN UND WOHIN WIR GEHEN」geh8（ドレスデン、ドイツ）

<その他＞

2020「MOT アニュアル2019 Echo after Echo : 仮の声、新しい影」関連イベント 「ドローイングオーケストラ」東京都現代美術館（東京） 2019「2019 LIVE International Performance Art Biennale in Vancouver」 Ground Floor Art Centre（バンクーバー、カナダ） 2018「Performance & Workshop」（トンヨン、韓国） 2016「間人／首くくり拷象× 村田峰紀× 山川冬樹」前橋市芸術文化れんが蔵（群馬） 2015「MURATA Mineki」THE WINDOW（パリ、フランス） 2014「looking closely at things」LATENT SPACE（シンガポール） 2013「Its Performance」PS Squared（ベルファスト、北アイルランド、UK） 2011「素描／エクリチュール"背中で語る”。」SPROUT curation（東京） 2009「Butterfly Deam」越後妻有トリエンナーレ2009 企画：BankART 1929」 バタフライパビリオン（新潟） 2008「思考の現場」台北国際芸術村（台湾） 2007「No comment」7.stock（ドレスデン、ドイツ）

盛　圭太｜Keita Mori

1981年北海道生まれ。パリを拠点に活動。 多摩美術大学彫刻科卒業後、文化庁新進芸術家海外研修員としてパリ国立高等美術学校に在籍したのち、パリ第VIII大学大学院美術研究科先端芸術修了。2011年から線の起源を『糸』に仮説したドローイングシリーズ『Bug report』を通じ、システム＝織物に出現するBug（エラー）を事象の生成原理とした作品を制作する。2017年、フランス初のドローイングに特化したアートセンター、ドローイング•ラボのオープン個展作家に抜擢、同年創設された松縁芸術助成基金 『松谷賞』の初の受賞者となる。近年の主な展覧会に「Walk The Line」（ウォルフスブルグ現代美術館、2015年）、「Template」（カトリーヌ・プットマン ギャラリー、フランス国立造形芸術センター[CNAP] 支援、2017年）、「DOMANI・明日展」（国立新美術館、2018年)、「社会を解剖する」（高松市美術館、2019年）、「ドローイングの可能性」(東京都現代美術館、2020年）、等がある。

＜主な個展＞

2020「Bug report」rin art association art association（群馬） 2019「Struction, en effet」イレヴェルシーブル・フラタニティ（リモージュ・フランス）「Bug report」ラ・ファクトリーヌ（ナンシー・フランス） 2018「Art On Paper」- カトリーヌ・プットマン ギャラリー, BOZAR（ブリュッセル・ベルギー） 「Les nuages sans ciel」ドゥーザングル（フレール・フランス） 「Scrolling」ポレーヌ（モンフランカン・フランス） 2017「Template」カトリーヌ・プットマン ギャラリー（パリ・フランス） 「Strings」ドローイング・ラボ・パリ（パリ・フランス） 「Tisser des préhistoires futures」サン・サヴゥー（ロシュゼルヴィエール・フランス） 2016「Bug report」イコノスコープ（モンペリエ・フランス） 2015「Hyper-Espaces」ベルナール・ボッシュ美術館（ラ＝ボール・フランス）

＜主なグループ展＞

2020「ドローイングの可能性」東京都現代美術館（東京） 「Constellation #01」rin art association（群馬） 「CRAC 2020」メゾン・デザール（シャンピニー＝シュル＝マルヌ・フランス） 「Midtown Street Museum」東京ミッドタウン（東京） 2019 「社会を解剖する」高松市美術館（香川） 「The Projective Drawing」ドローイング・ラボ・パリ（パリ・フランス） 「六甲ミーツ・アート 芸術散歩2019」 瀬戸内海国立公園六甲地域（神戸） 「TOKYO MIDTOWN AWARD 2019」東京ミッドタウン（東京） 「Les Jardins du Design 2019」ECAM（リヨン・フランス） 2018「DOMANI・明日展: 寄留者の記憶」国立新美術館（東京） 「○動」国際芸術センター青森（青森） 「DRAWING NOW PARIS」- カトリーヌ・プットマン ギャラリー, カロー・ドゥ・タンプル（パリ・フランス） 「Itinéraires Graphiques du Pays de Lorient」ラ・ロトンド（ラネステール・フランス） 「Weniger ist mehr – less is more」ギャラリー・ドュ・クルス（パリ・フランス） 「ART PROTECTS 2018」イヴォン・ランヴェール ブックショップ（パリ・フランス） 「Dessiner aujourd’hui」メゾン・デザール ローザ・ボヌール（シュビイ＝ラリュ・フランス） 「15AN DE 2ANGLES」ドゥーザングル（フレール・フランス） 「RÉCITS DE SQUARES」ル・キャトルバンセット（パリ・フランス） 「Nuit Blanche des Enfants」パリ１８区市庁舎（パリ・フランス） 「Prêt á décrocher」アートテック・ウエスト＝プロバンス（ミラマ・フランス） 2017「GALERISTES 」- カトリーヌ・プットマン ギャラリー, カロー・ドゥ・タンプル（パリ・フランス） 「Le dessin, autrement」ギャルリー・ドゥ・レトラヴ（トノン＝レ＝バン・フランス） 「Réalités invisibles」スタシオン（パリ・フランス） 「NOUS N'AURONS DE CESSE D'EXPLORER」 ドゥヴル・ヴェー ギャラリー（マルセイユ・フランス） 「La dimension de la maquette」 フォンデリー・クグラー（ジュネーブ・スイス） 2016 「PARÉIDOLIE」- カトリーヌ・プットマン ギャラリー, シャトー・ドゥ・セルヴィエール（マルセイユ・フランス） 「Art is Hope」ペロタン ギャラリー（パリ・フランス） 「SALON DE MOTROUGE」 ル・ブフロワ(モンルージュ・フランス） 「DRAWING NOW PARIS」- カトリーヌ・プットマン ギャラリー, （パリ・フランス） 「Drawing room 016」- イコノスコープ, アン＝サラ・ベニシュー ギャラリー, ラ・パナセ（モンペリエ・フランス） 「Ftnss.show」アキバタマビ21（東京） 「EXPOSITION DE GROUPE」デュボワ ギャラリー（パリ・フランス） 「La main qui dessinait toute seule」マグダ・ダニス ギャラリー（パリ・フランス） 「PARCOURS DE l'ART」クロワトル・サン・ルイ（アヴィニョン・フランス） 2015 「Walk The Line」ヴォルフスブルク美術館（ヴォルフスブルク・ドイツ） 「Jardins Synthetiques」サン・レイモン美術館（トゥールーズ・フランス） 「FID PRIZE 2015」カトリーヌ・プットマン ギャラリー（パリ・フランス） 「METHACITY」ドミニク・フィアット ギャラリー（パリ・フランス） 「PARCOURS DE l'ART」Cloitre St Louis（アヴィニョン・フランス） 「Serendipity -80 x 80」ロール・ロワネット ギャラリー（パリ・フランス）「In Tension」ラーゲ・エガル （ベルリン・ドイツ） 2014 「JAPON」メマック現代アートセンター（メマック・フランス） 「VOYAGEURS」 ヴィラ・エメリージュ（パリ・フランス） 「FID PRIZE 2014”」ドローイング・ボックス（トゥルネー・ベルギー） 「Réels Imaginaires」リチャード ギャラリー（パリ・フランス） 2013 「Lauréats du FID PRIZE 2012」カトリーヌ・プットマン ギャラリー（パリ・フランス）

＜ゲストプロフィール＞

建畠　 晢｜Akira Tatehata

美術評論家、詩人。早稲田大学文学部仏文学科卒業。専門は近現代美術。 「ヴェネチア・ビエンナーレ」日本館コミッショナー（1990、1993年）、「横浜トリエンナーレ」第1回展（2001）アーティスティック・ディレクター、「あいちトリエンナーレ2010」芸術監督など、多くの国際美術展を組織し、アジアの近現代美術の企画にも多数参画。また、詩人としては、1991年に『余白のランナー』で第2回歴程新鋭賞、2005年に『零度の犬』で第35回高見順賞、2013年に『死語のレッスン』で第21回萩原朔太郎賞を受賞するなど、著書も多数。

[gallerycobaco]

【展示予定】髙石次郎　ー何気ないことを何気なく存在させる勇気ー

会期｜2023.5.27sat～6.18sun

場所｜gallery cobaco

時間｜11:00~17:00

入場無料

【ギャラリートーク】ー陶の軌跡ー

要予約•参加費無料　定員15名

❶6/9金14:00〜15:30

❷6/11日14:00〜15:30

++++++++++++++++++++++++++++++++++++++++

【プロフィール】

1957年　福岡県生まれ

1979年　佐賀大学教育学部特設美術科卒業

1980-1986年 佐賀県窯業試験場　技師

1986-2017年 上越教育大学　教員

1992年 文部省在外研究員Bristol Polytechnic（英国）　

【個展】

赤坂・乾ギャラリー（1988.1990.1993）/渋谷・西武百貨店工芸画廊（1991）/英国・MERIDIAN Art & Craft Gallery（1992）/ギャラリーいそがや（1994）/ギャラリーTAO（1994.1996）/目黒陶芸館（1998. 2005）/Silver Shell（2006，2008, 2012）　他

【公募展】　

フレッチャーチャレンジ国際陶芸展（ニュージーランド）（1997.1998）/ファエンツァ国際陶芸展2点（イタリア）（1999）/ニヨン国際磁器展（スイス）（2001）/マニセス国際陶芸展（スペイン）（2011.2013.2015）/カップフェンベルグ国際陶芸展（オーストリア）（2013）　他

【その他】 　

クレイワークグループEMON（1982～1988）/「現代工芸への視点　装飾の力」展（東京国立近代美術館工芸館）（2009-2010）/髙石次郎作品館「閑人館」開館（富山県氷見市）（2013）

【軌跡そして今】

若い頃は皆が認める「いい作品」が在って、それを目指して頑張ることが正解だと信じていました。しかし、その「いい作品」と、自分が素直に表現した作品の間には一致しがたい溝があることをずっと感じてきました。自分の作品は曖昧で既成の範疇に収まらず、今の言葉でいえばクールではありません。そして、どういう訳か、自分の作品にはアイロニーやユーモアの臭気が漂ってきてしまいます。年齢を重ねるにつれて、自分の身体から自然に滲み出す表現を＜いい作品＞というしかないと思うようになってきました。つまり、―何気ないことを何気なく存在させる勇気―はここにあります。

自分は陶芸に出逢えて幸せだったと思っています。何故ならば、陶芸（工芸）が持つ特殊性が自分に多くのことを教えてくれ、そのことが継続していくからです。その特殊性は、粘土/釉薬などの‘素材’、成形/乾燥/絵付/釉薬/焼成などの‘技術’、発想から作品までの ‘行程’、これらの‘素材’‘技術’‘行程’と自分が相互に刺激しあい新しい意味/文脈を生み出しながら最終的な作品となる過程にあります。このような双方向的で複雑な陶芸のあり方が面白く自分に合っていると思っています。更に作品は人に使われたり人の手に渡ったりしながら新しい物語を身に纏っていきます。つまり、自分にとっての陶芸は、過程での様々な出来事（こと）と、それらの結果として出来た作品（もの）なのです。

また、自分が大学で美術や学校教育について実践/研究してきたことは、ここに述べた作品や陶芸と人の関係が、私たちが社会で（子どもたちが学校で）学び生きていることを考える際の手がかりとなっています。

今日、目に見えない過程（こと）の存在に目を向けることは、とても大切だ��思っています。しかし、残念ながら世の中は目に見える価値（もの）に依拠し、目に見えない価値を隠蔽すると同時に先人の文化をも失う傾向にあります。

今回、30年を過ごした新潟での作品と福岡に帰ってきてからの作品を展示します。作品や建物との出逢いから、何か不思議や疑問を感じて頂き「心穏やかに生きること」の一助になれば幸いです。

++++++++++++++++++++++++++++++++++++++++

#髙石次郎

#陶磁器

#髙石次郎作品館

#閑人館

#抹茶碗

#asakura

#art#gallery

#gallerycobaco

#exhibition

#artspace

#artoftheday

#artifacts

#masterpiece

#abstractart

#contemporaryart

#collection

#collector

#painting

#artlover

#artistsoninstagram

#galleryart

#朝倉市#ギャラリー

#アートスペース

#アート

#展示

#個展

#作品展示販売

#美術家

[superkirarabbit]

The time @Waseda University 好きな本は未だ変わらなくて、私はやっぱり文学（小説）が1番好き。ファンでなくとも大学時代から村上春樹の功績はもちろん一目置いているし、一度は訪れたかったけど機会がないとなかなかね…😅ということで、有給休暇にこちらへ。流れる音楽も空間も家具もセレクトされた本もすごく好みで、いつまでもいたいと思えた。でもさらに驚いたのは、演劇博物館の素敵な佇まい。坪内逍遥像に挨拶して中に入ると、資料が貴重すぎて、膨大で、学びの意欲を刺激されまくったー！！　あー、今の早大生羨ましーい（笑） Memo:舞台正面にはTotus Mundus Agit Histrionem“全世界は劇場なり”というラテン語が掲げられている。 #国際文学館 #村上春樹ライブラリー #record #村上春樹 #collection #literture #art #translation #data #stairs #gallery #audio #cafe #furniture #早稲田大学 #西早稲田 #december #dayoff #tokyo #takeawalk #japan #relax #happy #architecture #隈研吾 #library #演劇博物館 #坪内逍遙 #shakspeare #有形文化財 (早稲田大学国際文学館（村上春樹ライブラリー）) https://www.instagram.com/p/CmMBT3ivJ5y/?igshid=NGJjMDIxMWI=

[elclaree]

Ras’s specialty change expression

[park-tokyo]

【 COLLECTIVE 関連イベント 】anouta × PARK GALLERY presents『ART VI VANT VANT #03』 公開収録

古今東西の悲しい歌を���介するディスクガイド ZINE「悲しさは鳴る」、1997年をテーマに、音楽の特集を組んだアンソロジー「1997」など、都内を中心に、音楽 ZINE の制作や DJ イベントの開催などの活動を続ける「anouta（あのうた）」と、PARK GALLERY による、インターネットラジオ「ART VI VANT VANT」が 現在開催中の COLLECTIVE の会期中にやってきます！

『アンニュイな音楽』『土曜日に聴きたくなる音楽』と続いてきた ART VI VANT VANT（アールヴィヴァンヴァン）。3回目のテーマはなんと（みんな大好き）『サザンオールスターズ』です。

ひとことに『夏ソング』と言えないサザンから、意外な切り口とも言えるサザンまで、さまざまな視点でサザンオールスターズについて語りつくします。

まさに聞く ZINE という感じ。

音楽好きはもちろん、ZINE 好きもぜひ公開収録に遊びに来て見てください。

15時から1時間ちょいです。

せーの

アールヴィ！ヴァンヴァン！ —————- anouta × PARK GALLERY ART VI VANT VANT #03 パーソナリティ： anouta（若山貴史・宮崎圭） http://anouta-jp.tumblr.com PARK GALLERY 店主・加藤 淳也 トークテーマ：サザンオールスターズ

公開収録 15時〜（1時間ちょい） —————-

過去の ART VI VANT VANT

* Youtube は一部楽曲が聞けない場合があります

#01 アンニュイな音楽について Youtube https://youtu.be/hLUeCL-VOkw MP3 http://mag.park-tokyo.com/radio/artvivantvant_01.mp3

#02 土曜日な音楽について Youtube https://youtu.be/AvxnShrfJlg MP3 http://mag.park-tokyo.com/radio/artvivantvant_02.mp3

[dialovers-translations]

Diabolik Lovers DARK FATE ー Carla Ecstasy [03]

[Prologue] [01] [02] [03] [04] [05] [06] [07] [08] [09] [10] [Epilogue]

ー The scene starts in the entrance hall

Yui: ( All of the paintings hanging in the entrance hall are simply lovely... )

( I’m no expert when it comes to art, but I could imagine myself losing track of time while admiring them. )

ー Carla walks up to her

Carla: ...Oh? You were watching the paintings? 

Yui: Yes. I can’t help but get captivated...

Carla: These paintings were all carefully selected and purchased by none other than myself. 

Yui: I see...!

Do you like this style of art? 

Carla: No, not particularly. 

Personally, I am more fond of scenery paintings so the ones displayed over here do not reflect my personal tastes. 

Rather than being peculiar about the art style, I prioritized choosing paintings which would look good in the entrance hall. 

Yui: ...Heeh, I see. Ah, so those paintings over there are all yours? 

Carla: Yes, they are part of my collection. The reason I began to collect paintings in the first place was...ーー 

...No, let me leave it at that. Once I start talking about paintings, I can go on for hours.

I can only imagine it would not be very interesting to you. 

Yui: O-Oh no, that’s not true!

I very much enjoy listening to you talk. 

Carla: ...Enjoy? 

Yui: Yes. Besides, I’d love to see some of the paintings you’ve collected over the years...

Carla: Then please, be my guest. There are countless paintings from my collection stashed away in my room. 

If you are interested, you may have a look at those as well. 

Yui: ...Eh? Are you sure!? Thank you so much!

( Am I imagining it, or does he seem somewhat happy? )

( I feel as if his tone is a little more cheerful than usual...? )

( It’s only a slight difference, but I can tell. He must truly love art. )

Carla: ...? What’s the matter? 

Yui: Ah, um...I just thought that painting over there is very lovely!

( Haah...If only I knew a little more about paintings and such myself. )

( Then we might have been able to chat about it much more... )

Carla: ーー What kind of paintings do you usually gravitate towards? 

Yui: Eh...? Um...

( I’m not all too knowledgeable but... )

Selection

→ The same as you (M)

Yui: I guess scenery paintings, just like you?

Carla: Hooh. 

Then, do you have a favorite painter? 

Yui: ...U-Um...

( I don’t know a single scenery painter...! )

I-I’m sorry...! I actually don’t know a thing about art. 

However, I really liked the scenery paintings displayed in the special classroom at school...

Carla: Yes. Those were definitely praiseworthy. I assume that they were painted by the same person as the painting you pointed out on the wall earlier. 

Yui: ...! Really? 

Carla: I do not dislike this painter’s repertoire either. 

Yui: ( Seems like we have similar tastes! I’m honestly a little happy... )

→ I like portraits (S)

Yui: I like...portraits, I guess? 

I like to look at the portraits you come across in history textbooks. 

I feel as if it brings me slightly closer to people who lived decades before I was even born. 

Carla: I cannot relate to that.

Yui: ...Right.

Carla: However...

It might be interesting to douse you in ink and press you against a canvas to create an art print.

If I were to ever try that, I shall display your portrait in this room. 

Yui: ( I-I’d rather you not...! )

Carla: ...

You should enjoy your own interests. No need to force yourself to like the same things as I do. 

Yui: Okay...

Carla: Although, this made for a perfect way to kill some time. 

...If the opportunity ever presents itself, perhaps we could enjoy an art gallery togeーー ...!

ー He collapses

*Thud*

Yui: Carla-san!!

*Rustle*

Yui: Are you alright!? Carla-san!

Carla: ...Kuh...

Yui: ( Don’t tell me...Did he push himself to talk to me, even though he was feeling unwell...? )

Let’s hurry back to your room! Come on, grab onto me...

*Thud*

Yui: ーー !

( He brushed my hand off...but why!? )

Carla: ...! You can...kuh...leave me be...

Yui: ( Even if he says that, I simply can’t...! )

*Rustle*

Yui: I refuse to let go, even if you think of it as a burden...!

Carla: ...Ugh!

Yui: ( He pushed himself to spend time with me, so there’s just no way I can let go now... )

Carla: ...You are one stubborn girl...

Yui: ( He leant against me a little! ...Okay, let’s hurry back to his room...! )

ーー TO BE CONTINUED ーー